Consumer concern for “ethical products”, or ethical aspects of the goods which they purchase, is a subject of increasing interest and research,which is here illustrated by an examination of the Fair Trade movement, with special reference to coffee as an indicative commodity. Kate Bird, is currently Lecturer in the Development Administration Group, School of Public Policy, Birmingham University, Birmingham B15 2TT, England, having previously worked abroad and written her MSc dissertation at Wye College on fair trade in coffee products. (...) Dr Hughest holds the Sainsbury Chair in Agribusiness and Food Marketing at Wye College, University of London, Wye, Ashford, Kent TN25 5AH, England (email: [email protected]), where he is also Director of the Food Industry Management Group. He has wide international experience of food management issues. (shrink)

Consumer concern for “ethical products”, or ethical aspects of the goods which they purchase, is a subject of increasing interest and research,which is here illustrated by an examination of the Fair Trade movement, with special reference to coffee as an indicative commodity. Kate Bird, is currently Lecturer in the Development Administration Group, School of Public Policy, Birmingham University, Birmingham B15 2TT, England, having previously worked abroad and written her MSc dissertation at Wye College on fair trade in coffee products. (...) Dr Hughest holds the Sainsbury Chair in Agribusiness and Food Marketing at Wye College, University of London, Wye, Ashford, Kent TN25 5AH, England (email: [email protected]), where he is also Director of the Food Industry Management Group. He has wide international experience of food management issues. (shrink)

Trust is a critical component of research: trust in the work of co-workers and colleagues within the scientific community; trust in the work of research scientists by the non-research community. A wide range of factors, including internally and externally generated pressures and practical and personal limitations, affect the research process. The extent to which these factors are understood and appreciated influence the development of trust in scientific research findings.

While the phrase "metaphysics of science" has been used from time to time, it has only recently begun to denote a specific research area where metaphysics meets philosophy of science—and the sciences themselves. The essays in this volume demonstrate that metaphysics of science is an innovative field of research in its own right. The principle areas covered are: The modal metaphysics of properties: What is the essential nature of natural properties? Are all properties essentially categorical? Are they all essentially dispositions, (...) or are some categorical and others dispositional? Realism in mathematics and its relation to science: What does a naturalistic commitment of scientific realism tell us about our commitments to mathematical entities? Can this question be framed in something other than a Quinean philosophy? Dispositions and their relation to causation: Can we generate an account of causation that takes dispositionality as fundamental? And if we take dispositions as fundamental, what is the ontological ground of dispositions? Pandispositionalism: Could all properties be dispositional in nature? Natural kinds: Are there natural kinds, and if so what account of their nature should we give? For example, do they have essences? Here we consider how these issues may be illuminated by considering examples from reals science, in particular biochemistry and neurobiology. (shrink)

Doubled lives -- Autobiography -- Automatic life, so life: Descartes -- Order catastrophically unknown: Freud -- The blushing machine: Derrida -- Translation -- The point if at all: Cixous and Celan -- Naming the mechanical angel: Benjamin -- Raw war: Schmitt, Jønger, and Joyce -- Resonance -- Bloodless coup: Bataille, Nancy, and Barthes -- The audible life of the image: Godard -- Meditations for the birds: Descartes.

In ‘Finkish Dispositions’1 David Lewis proposes an analysis of dispositions which improves on the simple conditional analysis. In this paper I show that Lewis’ analysis still fails. I also argue that repairs are of no avail, and suggest why this is so.

Let us call a property that is essentially dispositional a potency.1 David Armstrong thinks that potencies do not exist. All sparse properties are essentially categorical, where sparse properties are the explanatory properties of the type science seeks to discover. An alternative view, but not the only one, is that all sparse properties are potencies or supervene upon them. In this paper I shall consider the differences between these views, in particular the objections Armstrong raises against potencies.

In my 'Dispositions and Antidotes', The Philosophical Quarterly, 48 (1998), I raise an objection to the conditional analysis of dispositions, both in its simple formulation and in a more sophisticated version due to David Lewis, The Philosophical Quarterly, 47 (1997). The objection suggests that a disposition may be continuously present and the appropriate stimulus occur without the manifestation occurring, because some outside influence, an antidote, interferes. Gundersen in The Philosophical Quarterly, 50 (2000), argues that my objection rests on an (...) equivocation about which object possesses the disposition and more particularly on an equivocation about the context in which the events referred to take place, and that when the equivocation is resolved the counter-example disappears. I respond by showing that the counter-example does remain if we take contextual and mereological issues into account, and I conclude by remarking that the difference with Lewisdepends on whether certain features are seen as significant for the semanticsand metaphysics of dispositions or as merely characteristic of the pragmaticsof common usage. (shrink)

In my ‘Dispositions and Antidotes’, The Philosophical Quarterly, 48, I raise an objection to the conditional analysis of dispositions, both in its simple formulation and in a more sophisticated version due to David Lewis, The Philosophical Quarterly, 47. The objection suggests that a disposition may be continuously present and the appropriate stimulus occur without the manifestation occurring, because some outside influence, an antidote, interferes. Gundersen in The Philosophical Quarterly, 50, argues that my objection rests on an equivocation about which (...) object possesses the disposition and more particularly on an equivocation about the context in which the events referred to take place, and that when the equivocation is resolved the counter‐example disappears. I respond by showing that the counter‐example does remain if we take contextual and mereological issues into account, and I conclude by remarking that the difference with Lewisdepends on whether certain features are seen as significant for the semanticsand metaphysics of dispositions or as merely characteristic of the pragmaticsof common usage. (shrink)

Is the nature of explanation a metaphysical issue? Or has it more to do with psychology and pragmatics? To put things in a different way: what are primary relata in an explanation? What sorts of thing explain what other sorts of thing? David Lewis identifies two senses of ‘explanation’ (Lewis 1986, 217–218). In the first sense, an explanation is an act of explaining. I shall call this the subjectivist sense, since its existence depends on some subject doing the explaining. (...) Hence it is people who, in this sense, explain things. In the second of his two senses, Lewis says, quoting Sylvain Bromberger, that one may properly ask of an explanation “Does anyone know it? Who thought of it first? Is it very complicated?” (Lewis 1986, 218; Bromberger 1965). In this second sense, no subject is needed, the explanation can remain unknown, perhaps for ever. So I call this the objectivist sense. (shrink)

David McNeill, a pioneer in the ongoing study of the relationship between gesture and language, here argues that gestures are active participants in both speaking and thinking. He posits that gestures are key ingredients in an “imagery-language dialectic” that fuels speech and thought. The smallest unit of this dialectic is the growth point, a snapshot of an utterance at its beginning psychological stage. In _Gesture and Thought,_ the central growth point comes from a Tweety Bird cartoon. Over the (...) course of twenty-five years, the McNeill Lab showed this cartoon to numerous subjects who spoke a variety of languages, and a fascinating pattern emerged. The shape and timing of gestures depends not only on what speakers see but on what they take to be distinctive; this, in turn, depends on the context. Those who remembered the same context saw the same distinctions and used similar gestures; those who forgot the context understood something different and changed gestures or used none at all. Thus, the gesture becomes part of the growth point—the building block of language and thought. _Gesture and Thought _is an ambitious project in the ongoing study of how we communicate and how language is connected to thought. (shrink)

Modern humans spend much of their time deploying a very rarefied form of intelligence, manipulating abstract symbols while their muscled body is mostly inert. Other animals, in a constant and largely unmediated relation with their earthly surroundings, think with the whole of their bodies. This kind of distributed sentience, this intelligence in the limbs, is especially keen in the case of birds of flight. Unlike most creatures of the ground, who must traverse an opaque surface of only two-plus dimensions as (...) we make our way through the world, a soaring bird continually adjusts minute muscles in its wings to navigate an omnidimensional plenum of currents and interference patterns that alter from moment to moment. Flight itself may usefully be considered as a kind of thinking—as a sort of gliding within the mind. Moreover, since birds are commonly the most mobile inhabitants of any woodland, able to fly over and scan numerous events occurring on the ground, their varied utterances provide a crucial source of information for many other animals. This paper, written as a philosophic essay, explores avian cognition from a phenomenological standpoint. It then reflects upon the vocalizations of birds—noting the major role that such avian calls, cries, and songs have played in the development of human culture. (shrink)

In birds and frogs, species pairs retain the capacity to produce viable hybrids for tens of millions of years, an order of magnitude longer than mammals. What accounts for these differences in relative rates of pre- and postzygotic isolation? We propose that reproductive mode is a critically important but previously overlooked factor in the speciation process. Viviparity creates a post-fertilization arena for genomic conflicts absent in egg-laying species. With viviparity, conflict can arise between: mothers and embryos; sibling embryos in the (...) womb, and maternal and paternal genomes within individual embryos. Such intra- and intergenomic conflicts result in perpetual antagonistic coevolution, thereby accelerating interpopulation postzygotic isolation. In addition, by generating intrapopulation genetic incompatibility, viviparity-driven conflict favors polyandry and limits the potential for precopulatory divergence. Mammalian diversification is characterized by rapid evolution of incompatible feto-maternal interactions, asymmetrical postzygotic isolation, disproportionate effects of genomically-imprinted genes, and “F2 hybrid enhancement.” The viviparity-driven conflict hypothesis provides a parsimonious explanation for these patterns in mammalian evolution. BioEssays 22:938–946, 2000. © 2000 John Wiley & Sons, Inc. (shrink)

Viacheslav Ivanov, the central intellectual force in Russian modernism, achieved through his work an original synthesis of Christianity, Platonism, and the philosophy of Friedrich Nietzsche. His powerful intellect exerted an immeasurable influence in modernist Russia and the early Soviet Union, and after emigrating to Italy in 1924 he played an important role in intellectual debates in Western Europe between the wars. In recent years, Ivanov's manifold contributions have been recognized in all major aspects of Russian culture, including poetry, literary theory, (...) philosophy, and theology. In _The Russian Prospero_, Robert Bird uncovers the foundations of Ivanov's poetic and theoretical universe, traces its evolution, and explores its connections to cultural and intellectual currents in international modernism. Blending a close reading of Ivanov's work with a thoughtful analysis of his place within twentieth-century thought, Bird finds that Ivanov's ecstatic creative psychology leads directly to a consideration of history as a continuum of human interpretive activity, and to a conception of art as a historical force. He emphasizes and dramatizes Ivanov's quest to harness the power of art and apply it to concrete life-situations. It is the dilemma of Prospero, who must liberate his attendant spirit Ariel in order to restore full sovereignty over his own creative self and to regain ethical agency. The productive tension that resulted from Ivanov's struggle was a remarkable force in Russian modernism and remains a powerful spur for our own reflections on modernity. Outstanding Academic Title, _Choice_ Magazine “[Bird’s] clear explanations of Ivanov’s ideas and his informed, insightful, astute readings of the poetic works make this book required reading for anyone interested in modern poetry, intellectual history, cultural studies, and philosophy of early 20th century Russian and European thought.... Essential.”—_Choice_ “[Bird] makes a welcome contribution to our understanding of Russian modernism in its broader European context.... In this undertaking he has not only succeeded admirably, but will undoubtedly inspire others to follow him.”—Pamela Davidson, _The Russian Review_ “The most comprehensive overall treatment of Ivanov’s work to date.”—David N. Wells, _The Slavic and East European Journal_. (shrink)

Consensus has it that generic sentences such as “Dogs bark” and “Birds fly” contain, at the level of logical form, an unpronounced generic operator: Gen. On this view, generics have a tripartite structure similar to overtly quantified sentences such as “Most dogs bark” and “Typically, birds fly”. I argue that Gen doesn’t exist and that generics have a simple bipartite structure on par with ordinary atomic sentences such as “Homer is drinking”. On my view, the subject terms of generics are (...) kind-referring. The interesting truth conditions characteristic of generics arise from the interesting ways in which kinds inherit properties from their members. (shrink)

Most early studies of consciousness have focused on human subjects. This is understandable, given that humans are capable of reporting accurately the events they experience through language or by way of other kinds of voluntary response. As researchers turn their attention to other animals, “accurate report” methodologies become increasingly difficult to apply. Alternative strategies for amassing evidence for consciousness in non-human species include searching for evolutionary homologies in anatomical substrates and measurement of physiological correlates of conscious states. In addition, creative (...) means must be developed for eliciting behaviors consistent with consciousness. In this paper, we explore whether necessary conditions for consciousness can be established for species as disparate as birds and cephalopods. We conclude that a strong case can be made for avian species and that the case for cephalopods remains open. Nonetheless, a consistent effort should yield new means for interpreting animal behavior. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way in (...) which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

(Only begin) A descent -- Free bodies -- Collective subjectivities 1 -- Overture to dawn -- Collective subjectivities 2 -- Into the hot -- Solitary subjectivities -- Troubled sea of noises and hoarse disputes -- Collective objectivities -- Imaginary birds said to live in paradise -- Postscript : The ballad of John and Yoko -- Rain falling down on old Gods.

At any given time, a subject has a multiplicity of conscious experiences. A subject might simultaneously have visual experiences of a red book and a green tree, auditory experiences of birds singing, bodily sensations of a faint hunger and a sharp pain in the shoulder, the emotional experience of a certain melancholy, while having a stream of conscious thoughts about the nature of reality. These experiences are distinct from each other: a subject could experience the red book without the singing (...) birds, and could experience the singing birds without the red book. But at the same time, the experiences seem to be tied together in a deep way. They seem to be unified, by being aspects of a single encompassing state of consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kant's DogDavid E. Johnson (bio)In a certain way, it is always too late to pose the question of time.—Jacques Derrida, Margins of PhilosophyIt is well known that Kant was notorious in Königsberg for his strict adherence to routine; he was so regular, Ernst Cassirer reports, that the citizens of Königsberg were able to set their clocks by his movements.1 The most public articulation of this regularity was his daily (...) walk through the city. It is doubtful Kant took a dog along on his constitutional; nevertheless, at the moment in the Critique of Pure Reason that he determines the possibility of the conceptualization of sense perception, which Heidegger considered the very heart of Kant's critical project and which ultimately turns on the regulation of the synthesis of time,2 Kant trots out man's best friend. Although he needs this dog in order to demonstrate the trick of temporal synthesis that makes any sensible conceptuality possible, it is also clear that he needs to keep this dog on a tight leash; he cannot afford to let it run off or go astray. On one reading, then, the Critique of Pure Reason institutes a sort of philosophical leash law. Indeed, Kant holds the dog so tightly that it is always already a dead dog—philosophical roadkill.In literature there is perhaps no more memorable instance of the problem of conceptuality than Jorge Luis Borges's "Funes el memorioso." Within that text, the key moment is the unforgettable example of Ireneo Funes's particular observation of the manifold that others reduce to a dog: "Not only was it difficult for him to see that the generic symbol 'dog' took in all the dissimilar individuals of all shapes and sizes, it irritated him that the 'dog' of three-fourteen in the afternoon, seen in profile, should be indicated by the same noun as the dog at three-fifteen, seen frontally" [Collected Fictions [End Page 19] 136].3 For Funes the inability to synthesize the manifold of experience under a general concept also contaminates the possibility of self-recognition: "His own face in the mirror, his own hands, surprised him every time he saw them" [Collected Fictions 136].4 His surprise at his face and hands as much as his frustration at the generic concept "dog" must be read within the context of Funes's rejection of Locke's suggestion of a rigorously particular language: "In the seventeenth century, Locke postulated (and condemned) an impossible language in which each individual thing—every stone, every bird, every branch—would have its own name; Funes once contemplated a similar language, but discarded the idea as too general, too ambiguous" [Collected Fictions 136].5 In Funes's account, the untenability of Locke's language does not lie in the impossibility of a language grounded upon absolute singularity; he does not argue, for example, that even the most radical empiricism must ultimately depend upon the possibility of ideality. Rather, he argues that insofar as it does not account for the temporal difference of the same from itself, such a language is always already too general.6 In short, "every individual thing, every rock, every bird, every branch," in Funes's eyes, are each and every one more than one. The dog at 3:14 seen in profile is not the same dog when seen at 3:15 in full frontal view. For Funes, the possibility of identity conceived as self-identity and, accordingly, as self-possession over time, is suspended. My face and hands are always different from themselves; they always surprise me; thus they are not mine. In Signs of Borges Sylvia Molloy remarks that Funes's attempt to construct a rigorously particular language can only be "sustained by Funes' attention" and that the words of such a language "finally make sense only to him. Indeed, all that holds them together... is Funes himself" [118, emphasis added]. On Molloy's account, the singularity of Funes's language, grounded as it is only in Funes himself, explains "the narrator's inability to reproduce" it [118]. Yet, Molloy fails to read the maximal effect of Funes's radical empiricism: namely, the... (shrink)

In this beautifully written book David E. Cooper uses a gentle walk through a tropical garden, the view of the fields and hills beyond it, the sound of birds, voices and flute, the reflection of light in water, the play of shadows among the trees and presence of strange animals, as an opportunity to reflect on experiences of nature and the mystery of existence. Covering an extensive range of topics, from Daoism to dogs, from gardening to walking, from Zen (...) to Debussy, Cooper succeeds in conveying some deep and difficult philosophical ideas about the meaning of life in an engaging manner, and in showing how those ideas bear upon the practical question of how we should relate to our world and live our lives. A thought-provoking and compelling book, _Senses of Mystery_ is a triumph of both storytelling and philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle on Pictures of Ignoble AnimalsDavid Socher (bio)The Poetics is a widely read, accessible classic. I think it has a minor flaw of some interest. In a well-known passage early in the Poetics, Aristotle is in error about pictures, or so I shall argue. He writes:And it is natural for all to delight in works of imitation. The truth of this second point is shown by experience: though the (...) objects themselves may be painful to see, we delight to view the most realistic representations of them in art, the forms for example of the lowest animals and of dead bodies. The explanation is to be found in a further fact: to be learning something is the greatest of pleasures not only to the philosopher but also to the rest of mankind, however small their capacity for it; the reason for the delight in seeing the picture is that one is at the same time learning — gathering the meaning of things, e.g. that the man there is so-and-so; for if one has not seen the thing before, one's pleasure will not be in the picture as an imitation of itbutwill be due to the execution or colouring or some similar cause.1I set out Aristotle's position as follows:1. It is natural to delight in imitation.2. In spite of it being unpleasant to look at a low animal, we delight in looking at an imitation of one — a picture.3. The pleasure in appreciating a picture comes from gathering the meaning, that is, recognizing the subject.4. Therefore if I look at a portrait of someone I don't know, I can't enjoy the imitation as such, because I don't recognize the person.5. And therefore if I do take pleasure in such a picture, it is not pleasure in the imitation as such but perhaps in the color, line, form, etc.My dispute is with points 4 and 5. Points 1 through 3 take for granted something that points 4 and 5 overlook and, in effect, deny: that is, that imitation comes in two levels: imitation of a kind and imitation of an individual. Aristotle illicitly slips from the first level to the second. The beginning of the [End Page 27] passage concerns imitations of, and fidelity to, a kind; the end concerns imitations of, and fidelity to, an individual.Before pursuing this complaint, a general remark: Aristotle's slip is a small one, incidental to his point. He speaks to the old paradox that "we enjoy the distress of tragedy."2 In bringing up pictures, he does not intend to dwell on them but is merely demonstrating the general principle that the very thing we find painful in the flesh can be enjoyed in make-believe.3 Why then, if the error is so small, discuss it at all? Because its examination reveals a significant distinction between types of picture, and because a minor slip in a major and influential classic is worth pointing out on that count alone.Let us look at the opening subject: pictures of ignoble animals — of snakes and snails and puppy dog tails. Are these portraits of individuals, like a portrait of the family dog or of the great racehorse Seabiscuit? No. The scientific spirit in us enjoys the most realistic representations of a fly, spider, and slug as an accurate anatomical rendering of a specimen sample, which is not a particular actual individual. It is the fidelity to its kind that we admire here (especially in times before photography). Examine, for example, the goal and the achievement of John Audubon. In his quest for accuracy, Audubon killed a dozen or so birds for each painting so as to always have a fresh model. Would anyone be so foolish as to ask Audubon if such a painting were a portrait of the fifth or of the sixth now-dead red-breasted robin? No, he preserves and presents visual knowledge of kinds, of the looks of kinds of thing.At the close of the passage, Aristotle discusses recognizing an acquaintance in a portrait. Had I not known him, I could only take... (shrink)

The idea of moral pluralism generates a dilemma for the practice of philanthropy. Characteristically, the practice of philanthropy assumes unity, coherence, or convergence among the diverse virtues and moral aims that it pursues. In the philanthropic tradition, it is recognized that the goals of a particular philanthropy will vary. Yet, if these are sincere expressions of the philanthropic will, each represents some portion of the manifold activity of “doing good” according to particularized choice or style. The relevant analogy should be (...) drawn to the slogan of “giving to the college of your choice” or to worship of the one god in your own way, where the plurality of expression is not only consistent with the residual value of education or of religion, but articulates the pragmatic way to realize the underlying values of a pluralistic society. Historically, this reflects the place of a unifying religious vision of the nature of the good or of a secular conception of a public philosophy which recognized the common good. Even etymologically, the love of mankind suggests a single passion that is directed beneficently to the shared values of mankind. The theory and practice of contemporary philanthropy is necessarily pluralistic, however, and it reflects the range of decisions by individuals with different interests and values in a pluralist, democratic society. The legitimized and recognized range of philanthropies in modern societies demonstrates divergent and even conflicting perceptions of the common good or the public interest. Thus, the range of philanthropies includes support for bird watching and for business opportunities of minorities, which may require some decisions on “comparable worth” and competitive allocation of resources. (shrink)

Music, said Zen patriarch Hui Neng, "is a means of rapid transformation." It takes us home to a natural world that functions outside of logic, where harmony and dissonance, tension and release work in surprising ways. Weaving memoir, travelogue, and philosophical reflection, Sudden Music presents a musical way of knowing that can closely engage us with the world and open us to its spontaneity.Improvisation is everywhere, says David Rothenberg, and his book is a testament to its creative, surprising power. (...) Linking in original ways the improvised in nature, composition, and instrumentation, Rothenberg touches on a wide range of music traditions, from Rob Nachman's stories to John Cage's aleatory. Writing not as a critic but as a practicing musician, Rothenberg draws on his own extensive travels to Scandinavia, India, and Nepal to describe from close observation the improvisational traditions that inform and inspire his own art.The accompanying audio disc features eleven original compositions by Rothenberg, none of which have been previously released on CD. Included are a duet with clarinet and white-crested laughing bird, and another duet with clarinet and Samchillian TipTipTip Cheeepeeeee, an electronic computer instrument played by its inventor Leon Gruebaum. Also featured are multicultural works blending South Indian veena and Turkish g-clarinet with spoken text from the Upanishads; a piece commissioned by the Tanglewood Contemporary Music Festival with readings of texts by E. O. Wilson accompanied by clarinet and electronics; and improvisations based upon Tibetan Buddhist music, Japanese shakuhachi music, and the image of a black crow on white snow.Sudden Music is a concise and delicate work of beauty. It will help all readers experience the world as a musical place, full of wonderful events that come out of nowhere to create a strange and rhythmic harmony. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 112-125 [Access article in PDF] You Make My Heart Sing David Rothenberg Last March I went to Pittsburgh to play music live with birds. The plan was to arrive at dawn, to catch the wary singers at their best—in the early morning chorus, when the most sound was happening. I met my friend Michael Pestel at the gates of the National Aviary, (...) a mostly forgotten federal institution in a rundown neighborhood. I had never heard of the aviary before Pestel told me what a great place it was to jam with the more-than-human world. The staff was rumored to be friendly, and they liked to let musicians in during the early hours before the public, mostly guided schoolchildren, would storm the gates.Pestel was there with his flute and various homemade stringed instruments. I had clarinets and saxophones, coaxed out of their cases, a bit tired from the long ride, but ready to hear what these birds had up their sleeves. We headed for the marsh room, a vaulted expanse with an observation deck and waterbirds from all over the world. I strained my ears to catch some pretty rocking bird beats, but they sounded familiar. Too familiar—the aviary was blaring Marvin Gaye at top volume to these birds at six o'clock in the morning. They were definitely squawkin' and squealin'."I cannot work in these conditions," muttered Pestel. "We've got to get these people to turn that racket down.""Didn't you warn them we were coming?""No," he shook his head. "You can't do that. Art always arrives without warning." [End Page 112]"You sure they'll let us do this?""No problem, man, I've come here many times before. These people know me. These birds know me."Marvin was turned down. The sprinklers were turned down (rain must start in the rainforest room every day before sunrise). How else to keep the gaudy barbets happy? Does a blue-crowned motmot (Momotus momota) or a violaceous euphonia (Euphonia violacea) really want to hear strange instrumental shrieks before breakfast? Weren't they content with "What's Going On?"Athanasius Kircher 1 knew the birds were onto something even in 1650:And then Wittgenstein had the nerve to warn us that if a lion could talk, we would not understand him. 2 When a lion roars, we do understand him (or her). If a cat purrs, we understand her, too. If the voice of an animal is not heard as message but as art, interesting things start to happen: Nature is no longer inscrutable, some alien puzzle, but instead immediately something beautiful, a source of exuberant song, a tune with some space for us to enter, at once a creative place for humanity to join in.We set up on the wooden deck, listening out over the water. Instruments out of their cases, recording equipment wired and set to go. An American crow (Corvus brachyrhynchos) was in the center of the action, sitting on a branch at the side of the room. He cocked his head, eyed us knowingly. Looking like there was something he wanted to say. [End Page 113]Pestel played a long, low sliding note, followed by a scratchy puff of air. Something strange swooped down next to my feet, shuffled its large black wings. Some kind of ungainly turkey... I read from a plaque on the railing that it was a Palawan peacock pheasant (Polyplectron emphanum). Its quizzical gaze was mute."What are you looking at?" I glared. He stepped cautiously toward the microphone cable, ready to gobble it in his hooked, formidable beak."Hey," I brushed him off. "Stop dancing. Sing!" But no, he was the prancing, silent type.All of a sudden there was a strange voice. A human voice? "Who." I heard. "Who. Who what where why. Who what where why."It was the crow. But not just any crow. He spoke."Did you hear that?" I coaxed Pestel up from the flute."Oh," he said. "That's Mickey. He's been here for years.""Does... (shrink)

This bird is ruined for us -- The Sharawaji effect -- Beginnings of time -- Orderly and disorderly -- The place of sound -- Called most beautiful -- Berlin longs for Berlin -- Eleven paths to animal music -- Celebrated by all.

In this thesis I investigate the question of whether or not dispositional properties are able to necessitate their manifestations. I provide three main discussions that reflect three aspects of my question. The first and second discussions concern different aspects of the 'problem of prevention'. This is the premise that causal interactions can be subject to interference/prevention, generally construed. A number of philosophers have argued that the problem of prevention undercuts the necessitation of lawful regularities in the context of dispositional essentialism. (...) We can term this issue the 'necessitation issue'. In the first discussion I examine whether or not antidotes qua preventative entities are metaphysically possible within the context of Alexander Bird's dispositional monism. I argue that Bird's theory raises a problem of ontological representation re antidotes. The line of thought in this discussion is that it is difficult for Bird to say what antidotes are and how they operate; nevertheless, in this discussion I provide a solution to my problem that stays within the confines of Bird's dispositional monism. In this section of the thesis I remain neutral on the necessitation issue, but I take myself to clarify the question of whether or not dispositional properties are able to necessitate their manifestations by criticising Bird's model of antidotes/prevention and setting out a replacement. In the second discussion I examine Stephen Mumford and Rani Lill Anjum's anti-necessitarian strategies. Mumford and Anjum's 'causal dispositionalism' encompasses a theory of dispositional properties, antidotes, and prevention. Mumford and Anjum's causal dispositionalism is not subject to the problem of ontological representation that Bird's theory raises; nevertheless, I argue that their theory is multiply problematic. The purpose of this discussion, taken as a whole, is to show that a recent strategy for attacking the necessitarian claim of dispositional essentialism is weaker than it has appeared to a number of philosophers. In this section of the thesis I move from a neutral stance on necessitation to a defensive stance. In the first two stages of the thesis, which concern the problem of prevention, I work with the background assumption that dispositional essentialism is a tenable position. In the third section of this thesis, however, I begin by endorsing Stephen Barker's essay The Emperor's New Metaphysics of Powers, which argues that the main articulations of dispositional essentialism are either internally inconsistent or otherwise disguised versions of brute modalism, where brute modalism focuses upon possible worlds as oppose to properties. In response, I develop a replacement position for dispositional essentialism that I term 'temporal essentialism'. I advance temporal essentialism as a prototype position in the properties and laws debate. It aims to provide a metaphysical explanation for lawful regularities by drawing upon the passage of time. In short, temporal essentialism is the position that it is built into a system of ontology that it dynamically adds new entities to its ontological categories and constructs states of affairs in a rule-following way. (shrink)

In his discourse The Glory of Being Human, Kierkegaard dons his spiritual therapist hat not only to help us recognize the futility of worldly ways of distraction but also to appreciate other more stable and edifying kinds of diversions which he calls ‘divine distractions,’ for instance, contemplating the lilies of the field and the birds of the air. Although the discourse The Glory of Being Human was published in 1847, two years before The Sickness Unto Death, Kierkegaard introduces in an (...) edifying fashion some of the main themes developed by Anti-Climacus in the later pseudonymous work published in 1849. So as his angst-ridden reader finally settles down to find edifying distraction in reading this discourse, he will soon discover that the cure for his anxiety cannot be found in escaping from the self in worldly aesthetic distractions, but rather by attending to ‘divine distractions’ in a life of worship and work before God. (shrink)

Does the psychological and neurological evidence concerning three-dimensional localization and navigation fly in the face of optimality? This commentary brings a computational and robotic engineering perspective to the question of and argues that a multicoding manifold model is more efficient in several senses, and is also likely to extend to animals, including birds or fish.

The song of the northern mockingbird, Mimus polyglottos, is notable for its extensive length and inclusion of numerous imitations of several common North American bird species. Because of its complexity, it is not widely studied by birdsong scientists. When they do study it, the specific imitations are often noted, and the total number of varying phrases. What is rarely noted is the systematic way the bird changes from one syllable to the next, often with a subtle transition where (...) one sound is gradually transformed into a related sound, revealing an audible and specific compositional mode. It resembles a common strategy in human composing, which can be described as variation of a theme. In this paper, we present our initial attempts to describe the specific compositional rules behind the mockingbird song, focusing on the way the bird transitions from one syllable type to the next. We find that more often than chance, syllables before and after the transition are spectrally related, i.e., transitions are gradual, which we describe as morphing. In our paper, we categorize four common modes of morphing: timbre change, pitch change, squeeze, and stretch. This is the first time such transition rules in any complex birdsong have been specifically articulated. (shrink)

Most see having their individuality stifled as equivalent to the terrible forced conformity found within speculative fiction like George Orwell's 1984. However, the oppression of others by those in power has often been justified through ideologies of individualism. If we look to animistic traditions, could we bridge the gap between these extremes? What effect would such a reevaluation of identity have on the modern understanding of selfhood? The term ' in-dividual' suggests an irreducible unit of identity carried underneath all of (...) our titles and experiences—the real self. By linking Marilyn Strathern's elaboration of dividualism and Nurit Bird-David's relational epistemology , a clear contrast forms between the animistic sense of self and that of the West. This system of selfhood more readily encourages a life lived in Henri Bergson's sense of duration and sets up a state of dialogical discourse , as seen in Mikhail Bakhtin's work. These concepts challenge the traditional praise for individuality and exposes how individualism can be used as a tool of marginalization as seen in Michel Foucault's critique of authorship. I argue that pursuing a sense of self rooted in these concepts instead of individualism mitigates this marginalization via a more socially aware cultural environment that the traditional Western sense of self fails to create. (shrink)

The standard behavioral index for human consciousness is the ability to report events with accuracy. While this method is routinely used for scientific and medical applications in humans, it is not easy to generalize to other species. Brain evidence may lend itself more easily to comparative testing. Human consciousness involves widespread, relatively fast low-amplitude interactions in the thalamocortical core of the brain, driven by current tasks and conditions. These features have also been found in other mammals, which suggests that consciousness (...) is a major biological adaptation in mammals. We suggest more than a dozen additional properties of human consciousness that may be used to test comparative predictions. Such homologies are necessarily more remote in non-mammals, which do not share the thalamocortical complex. However, as we learn more we may be able to make “deeper” predictions that apply to some birds, reptiles, large-brained invertebrates, and perhaps other species. (shrink)